Recording - October 2016 - 59
and sets up an inspirational environment for
composition and generating ideas. On the
opposite side is the Sonic Warps section,
which features great presets that are perfect
for quickly assembling an arrangement to fit
into a video score or background track.
Both of these library components combine
the stock microphones (Coles 4038,
Neumann KM84, and AKG C12A) with
extensive processing to create surreal sounding work.
But when I was in a mood to do more
personal tracks-or tracks that could get
tweaked to fit within a larger arrangement-I most often turned to the Felt Grand
Piano segment, which gave me easy access
to the multi-mic recordings that make up the
heart of this library. As I mentioned above, it
is quite remarkable to hear the difference
that the microphone positioning makes in
this recording. Whether you are after the
level of detail found on the close mics or the
thick gauze provided by the below-thesoundboard ribbon mic, you will be able to
find a mix that is perfect for additional (and
idiosyncratic) processing.
The way the user interface of the Ólafur
Arnalds collection works provides an excellent way of accessing the Kontakt engine,
without needing an advanced technical
degree. When working with the Felt Grand
Piano samples, you can mix, tweak and
manage the individual signals through a
basic Overview screen and a deeper
General Controls screen. But when you
work with the more "processed" sounds in
the Composer Toolkit or Sonic Warps, you
get an interface for the Mercury Engine,
which gives you a synthesizer-like control
panel to quickly manipulate the sonic characteristics of the sound in an intuitive way.
Each interface is well-suited to its matched
sample set, and always enhanced my interaction with the library. In the screenshot, you
can see the Mercury Engine in the upper
panel and the Overview in the lower panel.
Conclusions
Sometimes you find yourself needing to
step outside your comfort zone; the
Ólafur Arnalds Composer Toolkit provides the perfect tools to attack almost
any spooky, tense, mysterious, dreamy,
or ambient video scene imaginable.
Beyond that, you also end up with a
sonic toolset that features amazing
dynamic depth and an emotional draw
that is really atypical for sampled material. Whenever you need to add depth
and drama to your compositions, Ólafur
Arnalds and Spitfire Audio may have the
perfect Kontakt instrument for you!
Darwin Grosse (grosse@recordingmag
.com) is a recording musician, engineer,
sound designer, and digital audio guru,
who now lives near Minneapolis, where
there are fewer mountains but a lot more
Internet providers.
RECORDING OCTOBER 2016
59
http://www.gikacoustics.com
Table of Contents for the Digital Edition of Recording - October 2016
Contents
Recording - October 2016 - Intro
Recording - October 2016 - Cover1
Recording - October 2016 - Cover2
Recording - October 2016 - 1
Recording - October 2016 - 2
Recording - October 2016 - 3
Recording - October 2016 - 4
Recording - October 2016 - 5
Recording - October 2016 - Contents
Recording - October 2016 - 7
Recording - October 2016 - 8
Recording - October 2016 - 9
Recording - October 2016 - 10
Recording - October 2016 - 11
Recording - October 2016 - 12
Recording - October 2016 - 13
Recording - October 2016 - 14
Recording - October 2016 - 15
Recording - October 2016 - 16
Recording - October 2016 - 17
Recording - October 2016 - 18
Recording - October 2016 - 19
Recording - October 2016 - 20
Recording - October 2016 - 21
Recording - October 2016 - 22
Recording - October 2016 - 23
Recording - October 2016 - 24
Recording - October 2016 - 25
Recording - October 2016 - 26
Recording - October 2016 - 27
Recording - October 2016 - 28
Recording - October 2016 - 29
Recording - October 2016 - 30
Recording - October 2016 - 31
Recording - October 2016 - 32
Recording - October 2016 - 33
Recording - October 2016 - 34
Recording - October 2016 - 35
Recording - October 2016 - 36
Recording - October 2016 - 37
Recording - October 2016 - 38
Recording - October 2016 - 39
Recording - October 2016 - 40
Recording - October 2016 - 41
Recording - October 2016 - 42
Recording - October 2016 - 43
Recording - October 2016 - 44
Recording - October 2016 - 45
Recording - October 2016 - 46
Recording - October 2016 - 47
Recording - October 2016 - 48
Recording - October 2016 - 49
Recording - October 2016 - 50
Recording - October 2016 - 51
Recording - October 2016 - 52
Recording - October 2016 - 53
Recording - October 2016 - 54
Recording - October 2016 - 55
Recording - October 2016 - 56
Recording - October 2016 - 57
Recording - October 2016 - 58
Recording - October 2016 - 59
Recording - October 2016 - 60
Recording - October 2016 - 61
Recording - October 2016 - 62
Recording - October 2016 - 63
Recording - October 2016 - 64
Recording - October 2016 - 65
Recording - October 2016 - 66
Recording - October 2016 - 67
Recording - October 2016 - 68
Recording - October 2016 - 69
Recording - October 2016 - 70
Recording - October 2016 - 71
Recording - October 2016 - 72
Recording - October 2016 - 73
Recording - October 2016 - 74
Recording - October 2016 - 75
Recording - October 2016 - 76
Recording - October 2016 - 77
Recording - October 2016 - 78
Recording - October 2016 - 79
Recording - October 2016 - 80
Recording - October 2016 - Cover3
Recording - October 2016 - Cover4
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